Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Fiji and from Columbus.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1978.
I'm losing my edge.
To all the kids in Milan and Woodstock.
I'm losing my edge to the art-school Madrid kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Human League practice in a loft in Sheffield.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Dual Sessions to the dance kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Thompson Twins. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Lightning Bolt,
Pagans,
Ponytail,
Nick Cave & The Bad Seeds,
Little Man,
Spandau Ballet,
The Sonics,
Rekid,
Lower 48,
Tubeway Army,
Altered Images,
The Martian,
EPMD,
Accadde A,
Cal Tjader,
Duran Duran,
Lakeside,
Judy Mowatt,
Gang of Four,
Be Bop Deluxe,
Country Joe & The Fish,
Flash Fearless,
Dennis Brown,
DJ Sneak,
Scott Walker + Sunn O))),
The Trojans,
Minny Pops,
Quando Quango,
Wings,
Notorious Big And Bone Thugs,
Avey Tare's Slasher Flicks,
Lizzy Mercier Descloux,
Arcadia,
Matthew Halsall,
Visage,
Röyhkä ja Rättö ja Lehtisalo,
Max Romeo,
The Moody Blues,
Jesper Dahlback,
The American Breed,
Anakelly,
Gerry Rafferty,
Warsaw,
Cabaret Voltaire,
ABBA,
Sly & The Family Stone,
Inner City,
Lou Christie,
Scion,
the Sonics,
Connie Case,
Unwound,
Morten Harket,
Das Ding,
PIL,
Bill Near,
The Standells,
The Raincoats,
Arthur Verocai,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.